Type

Tue 11 September 2018

In the 19th century, it was very common to attend astronomy performances. In an age of immense scientific progress, the planetarium was a refuge for both fact and fiction. This mingling of the heavenly and earthly produced cosmological narratives that made sense of the position of humankind and technology in a rapidly evolving world. Fast forward to 2019. Pieter De Buysser’s tale begins in Argentina while giving a lecture on the writer Letizia Álvarez de Toledo. High time to reinstate the astronomy performance! And where better place than at the Brussels Planetarium?

Sat 15 September 2018

Thirteen children, a theatre director, an author, a scenographer, and a costume designer welcome you to a house that is the final result of a long-term collaboration between Inne Goris and Imelda Primary School Molenbeek. What is the place of art in daily school life?

The Zulu Nation break dancers are returning with The Battle of the Year Benelux! During this qualification round – with group battles, 1 on 1 duels, and a kids’ round – the bboys have to convince an international jury to get into the final in France, where the best break dancers in the whole world will compete for gold.

Sun 16 September 2018

Thirteen children, a theatre director, an author, a scenographer, and a costume designer welcome you to a house that is the final result of a long-term collaboration between Inne Goris and Imelda Primary School Molenbeek. What is the place of art in daily school life?

Thu 20 September 2018

Jed Martin – the main character in Michel Houellebecq’s The Map and the Territory – was born near Paris in 1975. When he is forty years old, he writes a letter to his dead mother. She was as old as he was then, when she decided to take her own life. The combination of his words and his visual work results in a compelling self-portrait of a contemporary artist.

Jed Martin – the main character in Michel Houellebecq’s The Map and the Territory – was born near Paris in 1975. When he is forty years old, he writes a letter to his dead mother. She was as old as he was then, when she decided to take her own life. The combination of his words and his visual work results in a compelling self-portrait of a contemporary artist.

Sat 22 September 2018

After Barcelona, Warsaw and New York, Fearless Cities moves to Brussels. This ‘municipalist’ conference discusses a more open, transparent, flexible, inclusive, and caring way to manage the city. Each day there will be an opening and closing plenary session, around 7 thematic workshops. Join this unique democratic public space, tap on collective intelligence, and truly listen to what Brussels’ people and activist organisations have to say.

Sun 23 September 2018

After Barcelona, Warsaw and New York, Fearless Cities moves to Brussels. This ‘municipalist’ conference discusses a more open, transparent, flexible, inclusive, and caring way to manage the city. Each day there will be an opening and closing plenary session, around 7 thematic workshops. Join this unique democratic public space, tap on collective intelligence, and truly listen to what Brussels’ people and activist organisations have to say.

Mon 24 September 2018

Sociologist and philosopher Didier Eribon’s Return to Reims combines autobiographical narrative and powerful sociological analysis. By exploring his own family history, he analyses how the class system influenced and continues to influence their lives.

Tue 25 September 2018

Ophelia Comes to Brooklyn is a theatre script that Antje Katcher wrote in 1982. In 1967, when she was 20 years old, she emigrated from a small German town to New York City. When she died in 2014, she left an inheritance for her niece: Katja Dreyer. Now, by staging Ophelia Comes to Brooklyn, three actors are attempting to decipher that play and Antje’s life itself.

Wed 26 September 2018

Ophelia Comes to Brooklyn is a theatre script that Antje Katcher wrote in 1982. In 1967, when she was 20 years old, she emigrated from a small German town to New York City. When she died in 2014, she left an inheritance for her niece: Katja Dreyer. Now, by staging Ophelia Comes to Brooklyn, three actors are attempting to decipher that play and Antje’s life itself.

Ophelia Comes to Brooklyn is a theatre script that Antje Katcher wrote in 1982. In 1967, when she was 20 years old, she emigrated from a small German town to New York City. When she died in 2014, she left an inheritance for her niece: Katja Dreyer. Now, by staging Ophelia Comes to Brooklyn, three actors are attempting to decipher that play and Antje’s life itself.

Fri 28 September 2018

In Authenticity and Spirituality, Elke Van Campenhout/Elle will speak about authenticity and our constant need to be unique, original, and connected to ourselves. Meandering through spiritual pragmatism, contemporary philosophy, and artistic discourse, she will rethink the boundaries of the authentic.

You can only observe changes with hindsight. Indeed, the present and the past are diametrically opposed: we realize that we have arrived somewhere, but we don’t know how we got there. That is precisely what My Only Memory is: a retrospective, knowing that nothing will ever be the same.

Sat 29 September 2018

You can only observe changes with hindsight. Indeed, the present and the past are diametrically opposed: we realize that we have arrived somewhere, but we don’t know how we got there. That is precisely what My Only Memory is: a retrospective, knowing that nothing will ever be the same.

In 2014, Jan Steen obtained his doctorate in the arts with a dissertation on the dramaturgy of the actor: Being in Playing. He argues, among other things, that the specific presence of an actor determines the specific result of a role – and by extension of a show.. How does the actor relate to the role? And how does authenticity interact with alterity?

The young director Lisaboa Houbrechts is tackling Hamlet. She has opted for the female perspective, focusing on the destructive relationship between Hamlet and his mother Queen Gertrude. Houbrechts primarily aims to illustrate Gertrude’s innocence and thus to show the iconic play in a radically different light.